merlyn wrote: ↑Tue Oct 12, 2021 4:53 pm
You might think I'm being a stickler. That's not my intention. If you get the basics down the rest is easier.
D-Tuned wrote: ↑Tue Oct 12, 2021 4:06 pm
OK, the inversion of chords does exist, I had only read up on triad inversions where the triad note that moves to the bottom defines that triad inversion.
Why do you want inversions to go down? If we take them in order : root, 1st, 2nd they go up.
Triad inversions are defined according to the triad note i.e.
3rd or 5th that goes to the bottom instead of the root. I
don't know why this was decided so, maybe it was to be in
line with the baseline mentality of the slash chord symbology.
I really don't care which end they define on, so long as I don't
run the even remote risk of a duplicate filename.
Most of music theory issued I guess from a piano, organ
i.e. keyboard environment. So it makes little difference
if a triad order is 1-3-5 or 3-1-5 but it makes a lot of difference
on a strummed string instrument. Not only that, but the
order of 3-5-1 isn't even provided for in triad inversions
as far as I know (it's neither a 1st nor a 2nd triad inversion).
The doodads and watchamacallits are redundant -- you've already got all the notes in the diagram and
they're colour coded -- why put that in the name of the chord aswell
? This is twelve chords as it can be moved up the neck. You only have to memorise this shape and the notes on the D (E) string.
I don't care about the name of the chord as such, it's the uniqueness of the filename that is prerequisite in my project. The filename is the filename, the diagram is the diagram, they reinforce each other in parallel. Over 80% of brain power lies in the subconscious
and musicians well know this. The idea of the video is to force familiarity through repetition rather than through blind cramming, creating all manner of subconscious
associations between the fretboard image, the staff, the approximate slider shape transition frets (from the matrix diagram), the literal and most importantly the aural content of every one of the 16 second clips. By the time I will have jammed through this 100-200 times I will know my fretboard, the chords, their staff notation, the shapes, the exact root string and fret, as well as the sound and mood of the main qualifications. Not only that, but even as a student by my third or fourth run I was tempted to and managed a few fast excursions into alternate voicings of the more familiar easy chords, all of this without a single second wasted on those shapes that I will never be able to finger anyway. THIS is what I created the aids for, now just about complete and very much to my satisfaction.
To turn a diagram into text I would be inclined to use something like this : D7-D-A-F#-C-A-D. (From the top down). There only is one place that can be played.
That would work too, as would some tab-like representation, or for that matter a humanly no more readable binary sequence. Your D7-D-A-F#-C-A-D may be a piece of cake to an expert musician but this project is about learning. Once learned, the video, diagrams and staff go into the bin as they should